The UB Anderson Art Gallery was host to the unveiling of a new exhibit honoring 20th century painter Michael Goldberg. Ode to Michael Goldberg: Selective Thievery and the Practice of Looking, which was made possible through a slew of artistic donations and loans, including pieces from Goldberg's personal estate, opened on Sept. 13.
According to Amber Smith, the exhibition curator, the gallery is laid out in such a way that patrons can follow Goldberg's artistic progression throughout his career.
"The most important aspect of this exhibit is the memorial and the evolution of Mr. Goldberg's work over forty years," Smith said.
The majority of the work pays homage to the abstract expressionist movement. A seemingly random smattering of color and brush strokes, which on the surface may seem childish, upon closer examination truly bring to mind the more primal and basic aspects of life itself.
Pieces such as "Summer House" (1958) and "Untitled" (1973) leave the viewer to ponder what the core concept of the work is really about. One's own personal conceptions of such pieces can be just as mind-boggling.
Other pieces such as "Flowers and Trees" (1965) take a classical, yet distinctly colorful approach. While embodying all the generic principles of still life, the piece adds its own unique blend of blurred images and undefined dimensions, further exemplifying the artist's own creative agenda.
Michael Goldberg was born in the Bronx in 1924. At the age of 14, he began his artistic training at the Art Students League in New York City, where he remained for twelve years, excepting a four-year absence to serve in the United States Army during World War II.
He was an original member of the New York School, an intellectual artist and writer's community in New York City, where he worked alongside fellow artists Jackson Pollock and Willem de Kooning. That's not exactly bad company.
He rose to a renowned status in the art community in the late 1950s and early 1960s. During that time he met poet Frank O'Hara, who he would later collaborate with on several pieces, including a four-volume set of poetry and illustrations, entitled Odes.
He first became acquainted with Anderson Gallery founder Martha Jackson in 1953; she would later represent him for the better part of the decade and provide great influence in making his achievements recognizable.
Although he was best known for his work as an abstract painter, Goldberg dabbled in the experimentation of other artistic mediums as well. He and his wife worked very closely in conjunction with UB. He was the first artist interviewed for the Anderson Gallery's Martha Jackson Oral History Project in 2000.
In regard to the show itself, its layout, and its ultimate message, one cannot call the exhibit anything less than pristine. Through the organization of the exhibit, it is clear how dedicated the contributing staff and students are to preserving the legacy and reputation of this great painter.
Ode to Michael Goldberg: Selective Thievery and the Practice of Looking will remain on display until Jan. 18, 2009.
